Hy Bound

Well poo... it turned out to be a crack... So i'm once again trying to find a good price on that damn program. I wish I had mo' money to squander on EWQL stuff. Tis sexy.

Just beat HL2 ep2... and damn! that was friggin' good. I kinda saw it coming close to the end, but still... WOW.

I was wondering if anyone knew whats happening with the new SmartPriming feature. Does that only work with Ableton's sampler/simpler, or does it work with Kontakt and the like.

Holy damn, that was cool. The animation wasn't quite perfect, but for one guy who does his own models and shit thats pretty amazing.

Dear lord, if I did audio recording I would probably sell myself to 50 fat chicks for a hundred dollars to afford that RX Advanced. That is pretty amazing stuff.

The best way to go about getting the vocals is finding a capella's of the original. Period. All of the crap that everyone says works really doesn't. It CAN be serviceable, but I have yet to find anything on the market that comes close to actually "extract" vocals. Even the several hundred dollar hardware/software really just gets very odd vocals out because they're usually so filtered (since drums tend to be centered as well) that you could only really use it if there was a ton of your own music around it to try and cover it up. But as far as getting pure vocals out, nothing can do it well.

SGX actually does that kinda thing a lot in his songs. Maybe not that exact amount/type of FX, but the results are usually what you described.

Well, I didn't mean to double post, but I might as well make it somewhat worthwhile... Thanks for the mini review there zircon. Instead of gettin battery 3 I found EWQL RA for about 80 bucks on ebay (supposedly the real version) and decided to get that instead. Pretty excited to mess around with that for a while! Thanks!

No, they're open. I tend to like those kind MUCH more when using them in studio atmosphere. You can listen to them for hours and not feel fatigued or ear sweated.

See, I usually completely agree with that. Its just that for the most part, a lot of the music I listen to has some amazing synth line in it that i want to somehow emulate in part and to be able to tweak something to sound almost exactly like it is very inspiring, because I can take a part of a song that I like and mold it into something I tend to be more interested in in some part. It also helps that the interfaces on the synths look a lot like their hardware counterparts.

I got some pretty good foley sounds from the ACID 3 program. its called, like 1001 sounds or something and usual serves my purposes quite nicely. As for synth programs, I would definitely suggest Reaktor 5.0. It has something like 70 synths and FX and even lets you create your own. It uses NI's core sound cells so it sounds really good. Its a wee bit more expensive than a single synth, but its what i consider to be the end all to synthesizers and you can probably find it for around $150; which ain't half bad.

I was a bit skeptical at first, but this is quite awesome! I would be on the side that the snares are just a TAD loud and you want to take maybe .5dB off at about the 2.5MHz freq. On the whole though, that bass is awesome; It has to be one of the best DnB basslines I've heard on this site. I would also punch up the bass on the bass drum a tad as well I guess, but this is pretty dern good.

I got bored and decided that it would be fun to find out what everyone's most inspiring/most used piece of hardware/software is. I want to try and lean away from things like "My computer cuz it lets me do my music stuffs." Unless of course the computer does something especially inspirational. For instance, I would have to say that Reaktor is one of my most inspirational pieces of software I have. I'll start with a blank slate synth and just randomly tweak knobs and play around until I find something. And if it isn't the right type of synthesizer for the sound I'm trying for I'll switch to another, or hell, make one myself (which truthfully doesn't yield many results). Being a tweaker-mad synth man, this piece of software really makes all of the sounds that make me want to finish a song. Have at 'em.

I really can't wait for that new Drum Rack! That is so much freedom to have per drum sound its happyfuntimes! I hope they aren't asking too much for it though, since it seems to be a smaller update.

I just wanted to mention that the best and cheapest way to find how things sound on a variety of monitering systems is to go to some place like ultimate electronic with a CD and listen to it on their wall of decks/speakers. If the sales guys aren't douchebags they won't mind if you aren't in during peak hours. I've done this with several mixes and it helps a LOT! I'm usually pretty bad at figuring out some EQ issues but you can usually get them pointed out when some of the decks accentuate that frequency problem and others sound somewhat off in the same frequency area. If you can't swing the 80 or so dollars, this is a very good way to work it out and even if you do, its still pretty helpful. And hey, there might be someone in there that becomes an instant fan from what they hear .

Definitely go with EWQLSO Silver. I use Gold and yeah, there are a lot of articulations that either aren't all that prevalent or sound pretty much exactly like 3 other articulations. However, The sound from the EWQLSO products is quite amazing. I would recommend it unless you don't want anything to do with filmscore-style reverb drenched samples, which arguably is what EWQLSO is known for.

As far as the HD280s go; I have a pair myself and they are definitely worth the $80 bucks. The bass is a wee bit loud and as far as the HD line go, a lil bit distorted. However, otherwise they have an amazingly flat and well-tuned response and are almost as good as my HD600s (which, if you have the money are more than worth it!) But what about Battery 3? Is it as amazing as say, StormDrum? I produce mostly breakbeats and film-score-esque soundbeds, so would it be up to the task? I just need some more drum sounds that aren't drenched in reverb.

I was just wondering if anyone thought to try and get this mentioned on, like, penny arcade or something... Just a thought.

I've been looking at this for a while, especially now since I have a 40 minute bus ride to school. It got a 9.0 from IGN. I dunno, some of their squabbles i don't remember having a problem with in the original, let alone what I could perceive being in a psp port. Aparently there is a lot of slowdown from summons, which i could see being a problem, but even in the ps1 version i didnt really notice any audio mis-synching. I could be totally wrong, but these do seem like quite a bit in the ol' problem bank account, but it still got a 9 from IGN and apparently a 9.5 from PSM. So I'm guessing its not too bad.

This is definitely one of my favorite tracks on the project! Great atmosphere and feeling. Also, like all other zircon tracks, very high quality . Just awesome work you two.

I love this album and it drifts in and out of my favorites spot between it and Hybrid's I Choose Noise album. I was able to go see this live at The Gothic Theater which, for those who don't know, is supposed to have the best sound system of any theater in the U.S. so yes, it was quite fantastic. I also got to talk to him about it afterward and we talked a bit about his newest album. The guy is quite possibly the coolest and most down-to-earth person in the universe; which makes me all the more interested in the fact that he can make such genius and eclectic music. The album is really quite fantastic and deserves to be heard in 5.1.

I don't really review very much, but i felt compelled to on this one. All I have to say is that i really found this to be one of the best orchestral arrangements I've heard on OCRemix. I know there are going to be others who disagree with me, possibly strongly, but I felt more of an attachment and emotion with this arrangement than many of the other orchestral arrangements on this site. Yes, it feels a little too drenched in reverb, and the cymbals sound shitty, but on the arrangment side and for the rest of the more technical side, it is quite outstanding. BTW, did anyone else get the feeling of Halo on the first few notes of the song? I was reading the Halo 3 review while listening to the song and thought the video review had somehow popped up. I guess thats quite the compliment i can give, considering Marty O'Donnell is a badass.

I was actually kinda happy Aeris died... I never used her and when you get forced to use her the little bit before she dies i just left her dead and beefed up my other guys more. But after i figured out she was actually dead and no phoenix downs were gonna do anything i got kinda sad. However, the end of advent children was kinda misty eyed-y. It was pretty well done. ------------ Possible BioShock Spoiler---------- I did however get misty-eyed at the very end when you save all of the little sisters. I had spent like 6 hours straight playing it and finally got to the end and was already quite invested into it and the CG ending got me. It was very well done, i didnt really feel like i had that much emotionally invested until the point where all the hand animation things kept happening... if you catch my drift. ------------- Possible BioShock Spoiler Over--------- Oh yeah, I forgot, the legend of dragoon, which wasnt that great of a game, but when that... green guy dies in the middle of the game, that almost made me cry; he was my best guy. But yeah, those were really the only 3 games that got me emotionally attached.

If you're using simple synths/pad sounds, its probably best to layer several of them in different octaves. If you're using a more complex pad sound, like, say, Absynth or something that prides itself on being a very complex texturizing tool, just doing different chords with it should do the trick. As far as effects, Chorus and Doubler make it a bit wider. You can also try and double the track and place a phaser on the second track and then cross-fade it back and forth with panning automation/modulation. Another cool little effect is adding a send effect with reverb and then lightly phase the reverb; it adds a pretty cool texture that should widen it up a bit. But really, nothing is better than judicial use of layering sounds. Try a relatively mono, low-end pad layered with a stereo mid-range pad and a widened high-end pad. I use this kind of thing a lot and it really makes pads awesomely wide and fits with how most people master their music.

Anti-Phasing... What is it and how can you manage it? I've been looking into this and found a monitor to view phase errors and such and found out i have a LOT of it. WHY?! And how do i fix it?